Abstract This paper deploys the sociolinguistic concepts of indexicality and language ideologies to examine Amakhosi Theatre Productions and Rooftop Promotions’ use of language and linguistic frames as a performance resistive strategy in the postcolonial Zimbabwean landscape. These concepts offer a framework to critically appraise the political, social, ideological and cultural meanings latent in language/s used in alternative theatre performances, which have the ability to influence and define identities and ideological structures. From this lens, colonial residual hegemony, dominance and cultural subjugation expressed through English and/or Shona are challenged and re-framed through code- switching, translanguaging and language mixing. From an interpretive approach, this paper shows that the creative linguistic methods employed by Amakhosi Theatre Productions and Rooftop Promotions to reject normative and metropolitan power enforced by English purists (Ndebele and Shona in the context of Zimbabwe) over means of communication. In essence, this paper provides deeper insights into syncretic linguistic forms, and culture vis-à-vis colonial residual domination, hegemony and cultural subjugation in postcolonial Zimbabwean alternative theatre.

中文翻译：

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后殖民津巴布韦另类戏剧表演中的语言使用

摘要 本文运用索引性和语言意识形态的社会语言学概念来检验 Amakhosi 剧院制作和屋顶促销在后殖民津巴布韦景观中使用语言和语言框架作为表演抵抗策略。这些概念提供了一个框架，可以批判性地评估替代戏剧表演中使用的语言中潜在的政治、社会、意识形态和文化意义，这些意义具有影响和定义身份和意识形态结构的能力。从这个角度来看，通过代码转换、跨语言和语言混合，通过英语和/或绍纳语表达的殖民残余霸权、支配地位和文化征服受到挑战和重新框架。从解释的角度来看，本文展示了 Amakhosi Theatre Productions 和 Rooftop Promotions 所采用的创造性语言方法来拒绝英国纯粹主义者（津巴布韦语境中的恩德贝勒和绍纳）对交流方式施加的规范和大都市权力。从本质上讲，本文对后殖民津巴布韦另类剧场中的融合语言形式和文化与殖民残余统治、霸权和文化征服提供了更深入的见解。